hubrad

[quote name='fatgoogle' timestamp='1367682977' post='2068384'] ... And the fact bass's are so damn expensive. [/quote] Yup, it seems that for a noticeable step up from a couple of grand you need to at least have the budget to go shopping with about 10K in your pocket!

The general consensus seems to be to aim for a bow costing about 1/3 to 1/2 the instrument to get the best out of both. Of course, as part of a longer-term plan, you can get a really good bow and upgrade the instrument later or vice-versa. +1 for Pernambuco still having the edge, but I have both Pernambuco and Metropolitan in German pattern and they're of similar quality - both really nice at least for my playing/bass/strings/choice of music etc etc.. I carry the Metro more often on gigs as carbon fibre has the rep of being far harder to damage.

[quote name='tredders' timestamp='1367573135' post='2067018'] Cheers for info... The model number (hand written on the back panel) is A250, so I'm guessing that designates that it's the 250 watt output model? Seems incredibly loud, if it's "only" 250 watts, though... Great sounding amp, and the 2 pre-defined pre-shapes are actually useable. Going to get it checked out by Peter Allen, and will then decide whether to keep this one or my OTB 500.... either one might end up for sale. [/quote] I've got the 250W head.. mine says AH250SMX on the back, bought new in early 90s. The best amp I've ever had, and while I've been tempted to change I've really had no need to do so. My vote: KEEP!

[quote name='philwood' timestamp='1367336955' post='2064403'] Thanks for all of these posts Gents, I recently aquired it so not sure what strings are on it, they feel resonably new but they could be crap. I've ordered a new set of strings to see if that helps! [/quote] This first.. if you're unsure of the strings, or if they are getting old, they may be stretching unevenly. This can lead to all sorts of weirdnesses.

I was vaguely wondering how this was going, partly cos I WANT SOME!

WHen I got the Overwater Jazz 5 second hand it had a John East pre. A fantastic amount of control available, just too much for my purposes so I sold the pre on and installed a Vol,Blend,Bass,Treble setup with the Vol push-pull to switch the active in and out. I use mostly active setups (big fan of EMG pickups, too!) but tend to get my basic sound at the amp then tweak it at the bass if a pre is there. How sit-on-the-fence is that for y'all?

[quote name='Dingus' timestamp='1366293511' post='2050632'] In addition to the very valid opinions and good advice already expressed , I would add that active basses and their usefulness also depends on the quality of the basic sound of the bass and the quality of the preamp . Some active basses that sound rubbish would sound rubbish if they were passive too because they don't have a good basic sound to begin with and a preamp ( especially a so-so sounding one ) won't change that fundamental shortcoming . Your Precision Bass has got a good basic tone , and that is all you really need . Conversely , a bass that doesn't have that good basic sound to start off with won't really be improved much by a preamp . It might be that making the Ibanez passive and changing the pickups will be throwing good money after bad and won't yield the satisfying sound you crave . The problem might not be that the bass doesn't sound good because it's active so much as that it doesn't sound that good full stop . If someone gave you a Wal Custom bass to take to your rehearsal you wouldn't have much problem finding a good sound with the active electronics , but that is because they are great sounding basses to begin with and then have a superbly designed preamp added to enhance and exploit that basic sound . Experiment with the Ibanez by all means and get more familiar with the controls ect. but I would be reticent to spend more money on the bass in an attempt to improve it when the chance of getting a good long - term outcome are not very good at all , and you would probably be decreasing the resale value of the bass in the process , thus losing money on both fronts . [/quote] I like this post!

Something else to bear in mind is that American made gear will be imperial sizes, Mexican probably the same but possibly metric on some parts; most of the rest of the world uses metric sizes. Longer term it's worth carrying both, and as KiOgon said concentrate on the smaller ones. Prob up to about 6mm or 1/4" are the majority of what you'll ever find on instruments.

I've got Realists on both DB and mandolin (yes, I know!); the DB one has been on this bass and my first one for a total of 12 years with no problem, the mandolin has been running for about 6 years. The only problem I had with the mando was when I ripped the pickup at the end where the wire leaves the flat bit, so I went in and bridged the tear with wire and solder. On the DB I do use a preamp, that definitely helps; unbuffered it's a little weak, but it's a piezo element so no surprise there. I've had loads of compliments on the DB plugged-in tone! By the mechanics of it, you really do need a good physical connection between the bridge and body.

[quote name='4 Strings' timestamp='1365752027' post='2043780'] As creatures of habit and little constant thought, why does it come more natural to plug into the amp end first? Also, if you practice with an an active bass, leaving everything plugged in when you finish, but just cracking the bass end out to save the battery, next time it's somehow more natural to turn the amp on first. Can't think why, but hence 'Silent' plugs are on most of the leads I make, great product. I found that the sleeve gets stuck at the slightest bend or angle in the jack. I 'straighened' a stuck one and it's been fine since but don't tread on them or allow it to fall. I have 4 or 5 of these, one lost it's ability to isolate but all are in regular use. To be honest they still allow the occasional 'Clonk'. One thing that has worried me, only in thought, not fact, is that is puts another mechanical contact in the signal chain, potentially compromising the signal quality. [/quote] Why not just make it the norm to unplug from the amp first/plug in last? When I started playing there were none of these thing around, and owners of amps and PA systems did NOT spare the rod if you created a loud bang through their gear!

I once got sparks and smoke out of one of mine.. very impressive, but I have to say the sound quality suffered!

[quote name='Machines' timestamp='1365278473' post='2037661'] Slightly off topic but the 5 string I tried had such a crappy light body wood (advertised as 'hardwood' on the website) that it had worse neck dive that a Thunderbird. Shame, as it sounded OK. [/quote] Well, technically, balsa wood classes as a hardwood.. http://science.howstuffworks.com/life/genetic/question598.htm

..Put on a Rush album...

[quote name='EBS_freak' timestamp='1363701112' post='2016068'] That would be Cass Lewis... also of Skunk Anansie and Gary Moore fame. He can play a fair bit. [/quote] Yes, I remember him going into detail about his FOUR finger plucking technique!!

I think that looks alone don't generally get you the gig with a decent band (thank goodness! ), although I vaguely remember a Bassist mag interview with the guy who was, at the time, Terence Trent D'Arby's bass player. He said he turned up for the audition, walked in the room, and the management said 'yes, you'll do nicely'. 'Don't you want to hear me play?' says he.. 'Nope, you look the part and you wouldn't be here if you couldn't play.'

Of course, as a fretless player I could only get excited about a complete fingerboard made of that stuff!

[quote name='BigRedX' timestamp='1363699398' post='2016011'] They already do. What about Warwick's bell brass, and how about [url="http://www.crystalfrets.com"]these[/url]! [/quote] Ooh.. I like the sound of those! For an 850 USD price tag I think they need better, larger pics, though. To my eyes they look like.. errr, frets!

I'd say it all makes a difference, however subtle. I'd then agree that, when it comes down to it, the technicalities are worthless in the face of 'do you actually like this bass (or guitar, mandolin etc..)' I know, through years of trying different instruments, that I have a particular liking for ash body/maple neck combination. As a fretless player I generally go for ebony board rather than rosewood, both tonally and in terms of trashing the board. That doesn't mean that just any ash/maple/ebony bass will really do it.. or that one made of mahogany will necessarily put me off. I also wouldn't claim to be able to listen blindfold and tell you what something is made of, only whether or not I like the sound. Relax.. this is music!

If either of those pipes handle hot water, I'd be inclined to either insulate round them like crazy, or else box them in (removable panel for access) but leave them with a vent to the outside world.. I wouldn't fancy a heated bass cupboard! Pipe insulation is also good stuff for supports padding, also that springy foam some electronics come with. That front cross-member can probably come out with impunity - it was most likely there for security of the tank. Two softwood planks at suitable angles to form a V work really nicely (and easily!) for bottom supports (oo-err!) and a third one with dowels for neck support/separators.